Calibration 2g.6

Role	Definition	Exemple Brihaddesi
main	Vers principal du texte (le contenu canonique de l'ouvrage)	धैवतश्च निषादश्च गीतौ तुम्बुरुणा स्वरौ ॥७८॥
annotation_inline	Commentaire interligne en petits caracteres (variante manuscrite, glose)	मत्सरी / अङ्धी / ₹क
editorial_bracket	Ajout editorial entre crochets [...] OU note avec marqueur ° / ॰	[२. शुद्धाः, विकृताः...] / [अनु ॰ ११५]
footnote	Note de bas de page (au bas de la page, separee du texte)	<sup>१३५</sup>षाडवा:
page_header	En-tete de page (titre du livre, en haut)	BRHADDESI
page_footer	Pied de page (texte au bas, sous le contenu)	(texte de pied de page)
page_number	Juste le numero de page, isole (en haut ou en bas)	181 / 70 / 46
section_header	Titre d'une section ou sous-section dans la page	[२. आर्षभी]
caption	Legende d'une figure ou tableau	Fig. 1 : svaramaṇḍala
list_item	Item d'une liste enumere	1. ... 2. ... 3. ...
table	Ligne d'un tableau de donnees	(colonnes alignees)
verse_number	Numero de verset isole (souvent entre dandas)	॥१९०॥ / ॥७८॥
unknown	Non classe (l'algo n'a pas su decider)	—

5 demi-pages random (seed 21001). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p107 RIGHT — 29 lignes

L#	Texte OCR	Role auto
1	197	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	Illustration - Dhāsādhāgā sānisāmāni. Mānidhāmāgā. Gāmādhāni. Dhāmāmāgā.	main via surya_layout
4	Ninidhādhā. Lalitā [ix]	editorial_bracket parent ligne 3 via heuristic_brackets
5	Niṣādavatikā<sup>25</sup> is said to be adorned with dhaivata as the initial and	main via surya_layout
6	concluding note, is a complete antara-bhāṣā and by others it is sung as being	main via surya_layout
7	devoid of ri (ṛṣabha).	main via surya_layout
8	(29)	annotation_inline parent ligne 7 via heuristic_height
9	Illustration - Dhāmāgāpā. Pāsāpāpā. Gamāmāpāni dhāpādhādhādhā.	main via surya_layout
10	Pāmādhāgāgā. Sanidhādhāpāpā. Dhāsāgamāgāpa nīdhādhānīsari	main via surya_layout
11	sāmāpānidhāpā māmāgāpa sadhānidhādhā. Niṣāḍavatī [x]	editorial_bracket parent ligne 10 via heuristic_brackets
12	Tumburu<sup>26</sup> is combined with dhaivata as the initial and concluding note,	main via surya_layout
13	is known to be hexatonic, is devoid of rşabha (and) is sung by the expounders	main via surya_layout
14	of Veda<sup>27</sup>	main via surya_layout
15	(30)	annotation_inline parent ligne 14 via heuristic_height
16	Illustration - Dhānisāgā gāmādhāpā māgani sanīdhādhā. Tumburu [xi]	editorial_bracket parent ligne 14 via heuristic_brackets
17	Gāndhāralalitā is complete, has madhyama as amśa and dhaivata as the	main via surya_layout
18	concluding note, is sung in the rituals associated with manes<sup>28</sup> (and) has	main via surya_layout
19	concert between şadja-dhaivata.	main via surya_layout
20	(31)	annotation_inline parent ligne 19 via heuristic_height
21	Illustration - Mādhāpā. Pāsāsāmaga sāsārīrī sānidhādhā sāsārigāmā	main via surya_layout
22	gāriri. Sāgarīsārī. Sādhā. Gāndhāralalitā [xii]	editorial_bracket parent ligne 21 via heuristic_brackets
23	.....................	annotation_inline parent ligne 21 via heuristic_height
24	Illustration - Dhādhādhāpā. Gariridhāpadhāninirigā papānidhādhā	main via surya_layout
25	rigarigadhāpadhā ripāgā rinidhā pādhādhā. Kalingā [xiii]	editorial_bracket parent ligne 24 via heuristic_brackets
26	The <i>bhāṣā</i> having <i>dhaivata</i> as the initial and concluding note, is <math>\acute{s}uddh\bar{a}</math>, <math>	main via surya_layout
27	dhaivata-madhyama (have concert?). It is a <math>m\bar{u}labh\bar{a}</math>ṣ<math>\bar{a}</math> sung by Nārada<math>^{3	main via surya_layout
28	others in bhinnaṣadja (rāga).	main via surya_layout
29	(32)	annotation_inline parent ligne 28 via heuristic_height

vol_II_p050 RIGHT — 34 lignes

L#	Texte OCR	Role auto
1	83	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[3. Gaudī giti and its component ohāțī]	section_header via surya_layout
4	The svaras of gaudi are beautiful and are attractive with ohāṭī. Ohāṭiī is said	main via surya_layout
5	to consist of a combination of the sound 'ha' and 'o'.	main via surya_layout
6	(277)	annotation_inline parent ligne 5 via heuristic_height
7	Ohāţī belongs to the low (register); (it is produced) by placing the chin on	main via surya_layout
8	the chest. It is to be made fast and faster, being pressed with the shake 15 of	main via surya_layout
9	svara.	annotation_inline parent ligne 8 via heuristic_height
10	(278)	annotation_inline parent ligne 8 via heuristic_height
11	And ohāţī is also beautiful with seen and unseen actions; it comprises of	main via surya_layout
12	actions <math>^{16}</math> in the three registers and is confounded (<math>\bar{a}kula^{17}</math>) with movements	main via surya_layout
13	in the three registers.	annotation_inline parent ligne 12 via heuristic_height
14	(279)	annotation_inline parent ligne 12 via heuristic_height
15	Similarly, ohāţī has to be used by the knowledgeable ones in vocal music	main via surya_layout
16	in a four-fold manner, viz. samākṣara (with even syllables), sama 18 (smooth),	main via surya_layout
17	in ascent and in descent. Ohāṭī is obtained in performance as being born in	main via surya_layout
18	the low (register) with shakes 19 of sound.	main via surya_layout
19	(280)	annotation_inline parent ligne 18 via heuristic_height
20	Gaudī gīti is said to subsist without rest in the three registers.	main via surya_layout
21	(281)	annotation_inline parent ligne 20 via heuristic_height
22	[4. Rāga giti]	section_header via surya_layout
23	Rāgagīti is said to be with attractive gamakas,20 with variegated low	main via surya_layout
24	(prasanna)<sup>21</sup> (svaras) pertaining to the chest-region, even, colourful or	main via surya_layout
25	delightful arrangements of svaras.	main via surya_layout
26	(282)	annotation_inline parent ligne 25 via heuristic_height
27	The rāgas (melodic configurations) are so called because the beautiful	main via surya_layout
28	rāga (colourfulness or delightfulness) that comes about in all the four varņas	main via surya_layout
29	is seen in them in its completeness.	main via surya_layout
30	(283)	annotation_inline parent ligne 29 via heuristic_height
31	[5. Sādhāraṇī gīti]	section_header via surya_layout
32	(This gīti) should be made with straight, attractive, somewhat minute and	main via surya_layout
33	large, properly audible, slightly fast, similarly soft, attractive, 22 smooth (or	main via surya_layout
34	soft<sup>23</sup>) and minute<sup>24</sup> prayogas<sup>25</sup> (melodic phrases?) that are well combined	main via surya_layout

vol_I_p063 LEFT — 39 lignes

L#	Texte OCR	Role auto
1	<b>BRHADDESI</b>	page_header via surya_layout
2	108	page_number via heuristic_pagenum
3	क्रमशो दीप्यते यस्तु प्रसन्नादिः स कथ्यते।	main via surya_layout
4	व्यस्तोच्चारित एवैष प्रसन्नान्तोऽभिधीयते ॥ १३८ ॥	main via surya_layout
5	(मे?ए)	annotation_inline parent ligne 4 via heuristic_short
6	आद्यन्तयोः प्रसन्नत्वात् प्रसन्नाद्यन्त इष्यते।	main via surya_layout
7	(मि?इ)	annotation_inline parent ligne 6 via heuristic_short
8	प्रसन्नमध्यो मध्ये तु प्रसन्नत्वादुदाहृतः॥१३९॥	main via surya_layout
9	सर्वसाम्यात् समो ज्ञेयः स्थितश्चैकस्वरेऽपि हि।	main via surya_layout
10	,₀मा ७या	annotation_inline parent ligne 9 via heuristic_markers
11	oमाo	annotation_inline parent ligne 9 via heuristic_height
12	बिन्दुरेककलं तारं स्पृष्ट्वा तु पुनरागतः॥१४०॥	main via surya_layout
13	स्याद्रिवृत्तप्रवृत्तश्च मन्द्रं गत्वा समागतः।	main via surya_layout
14	৽ন্ম	annotation_inline parent ligne 13 via heuristic_height
15	₀त्तः	annotation_inline parent ligne 13 via heuristic_markers
16	आक्रीडितलयो यस्तु स च वेणुः प्रकीर्तितः॥१४१॥	main via surya_layout
17	<b>.इनी.</b> (?)	annotation_inline parent ligne 16 via heuristic_short
18	उरोगतः कम्पितः स्यात् कम्पनाच्च कलात्रयम्।	main via surya_layout
19	₀यः	annotation_inline parent ligne 18 via heuristic_markers
20	कण्ठे निरुद्धपवनः कुहरो नाम जायते॥१४२॥	main via surya_layout
21	्दः ₀नो रु	annotation_inline parent ligne 20 via heuristic_markers
22	त्रिकला [त्] कम्पना [त्] तद्वद्रेचिताख्यः शिरोगतः।	editorial_bracket parent ligne 20 via heuristic_brackets
23	( ? ) হৈ ৹বা৹	main via surya_layout
24	गतागतप्रवृत्तो यः स प्रेङ्क्षोलित उच्यते॥१४३॥	main via surya_layout
25	( मु?उ )	annotation_inline parent ligne 24 via heuristic_short
26	48 यस्तु कण्ठस्वरोऽधस्तात् स तु तारः प्रकीर्तितः।	main via surya_layout
27	उरोगतस्तथा मन्द्रो मूर्ध्नि तारतरः स्मृतः॥१४४॥]	editorial_bracket parent ligne 26 via heuristic_brackets
28	क्रमागतस्तु यस्तारश्चतुर्थः पञ्चमोऽपि वा।	main via surya_layout
29	श्चेत् ततः पञ्चतु₀	annotation_inline parent ligne 28 via heuristic_markers
30	तारमन्द्रप्रसन्नस्तु ज्ञेयो मन्द्रगतो बुधैः ॥१४५॥	main via surya_layout
31	৹রা৯	annotation_inline parent ligne 30 via heuristic_height
32	लङ्घयित्वा परान् मन्द्रात् क्रमात् तारगति गतः।	main via surya_layout
33	ॳ (द?द))	annotation_inline parent ligne 32 via heuristic_short
34	मन्द्रतारप्रसन्नस्तु ज्ञेयो ह्यारोहणाद् बुधैः ॥१४६॥	main via surya_layout
35	विज्ञेयारोहणा	annotation_inline parent ligne 34 via heuristic_short
36	एकस्वराधिरूढः क्रमशः प्रस्तारसंज्ञको ज्ञेयः।	main via surya_layout
37	( जि? ज )	annotation_inline parent ligne 36 via heuristic_short
38	49[ प्रस्तारस्तु निवृत्तः शनैः प्रसन्नः प्रसादः स्यात्।।१४७॥]	editorial_bracket parent ligne 36 via heuristic_brackets
39	<b>०स्वा</b>७	annotation_inline parent ligne 36 via heuristic_height

vol_II_p146 RIGHT — 46 lignes

L#	Texte OCR	Role auto
1	PÄŢĦĄVIMARŚĄ	page_header via surya_layout
2	275	page_number via heuristic_pagenum
3	as the graha, amśa and nyāsa.	main via surya_layout
4	101. Ibid.corroborates this as - 'ripavarjitā' (182 d).	list_item via surya_layout
5	102. P.t. adds (सैन्धवी ?) which is redundant.	list_item via surya_layout
6	103. Kalā (appendix) on SR II, p.140 treats it as a <i>bhāṣā</i> and also as	list_item via surya_layout
7	vibhāṣā on p. 141. S Rāj II.2.1.1076 gives an antarabhāṣā named kaliṅgajā	list_item via surya_layout
8	bearing almost the same description as Kālindī.	list_item via surya_layout
9	या भित्रपड्जे कालिङ्गी याष्ट्रिकेन पुरोदिता ।	main via surya_layout
10	104. cf.	annotation_inline parent ligne 9 via heuristic_short
11	सैव भाषाङ्गममला परिणाममुपेयुपी ॥	main via surya_layout
12	S Rāj II.2.106.	main via surya_layout
13	105. Reconstruction based on Kalā (appendix) on SR II, p. 140,	list_item via surya_layout
14	reading 'sāntā dhāmśā'.	list_item via surya_layout
15	106. Reconstruction based on ibid-reading - ‘sadhyoḥ samayoryuktā’.	list_item via surya_layout
16	107. The prose sentence of p.t. has been reconstructed by us as two feet	list_item via surya_layout
17	of the metre anustup in view of similar concluding statements in this chapter	list_item via surya_layout
18	of our text.	list_item via surya_layout
19	108. Reconstruction based on S Raj II.2.11.662f reading	list_item via surya_layout
20	'ṣadjapañcamabhūyasī'. SR II.2.122 d reads 'bahulamadhyamā'. BhaKo p. 743	list_item via surya_layout
21	cites Bhattamādhava, reading 'alpamadhyamā'.	list_item via surya_layout
22	सौवीरे याष्ट्रिकेनोक्ता सौवीरी यात्र भाषिका ।	main via surya_layout
23	109. cf.	annotation_inline parent ligne 22 via heuristic_short
24	सैव भाषाङ्गमित्युक्ता भाषामर्मविदां वरै: ॥	main via surya_layout
25	S Rāj II.2.3.121.	main via surya_layout
26	110. Kalā (appendix ) on SR II, p. 132 reads-‘sagrahāntā, madhyamāinsā,’	list_item via surya_layout
27	describing şadjaas the graha and concluding note (nyāsa) and madhyama as the	list_item via surya_layout
28	amśa, thus corroborating our text.	list_item via surya_layout
29	111. cf. ibid which reads 'sa-pa-sangatā' describing a 'sangati' (concert)	list_item via surya_layout
30	between 'sa-pa'. S Rāj. II.2.1.661 c reads-'sangatyāmapayoryuktā', describing	list_item via surya_layout
31	a 'sangati' (concert) between ma-pa.	list_item via surya_layout
32	112. The text seems to break here. The lost portion could thus be seen	list_item via surya_layout
33	in other texts so far as the description (lakṣaṇa) is concerned; the illustrative	list_item via surya_layout
34	notation is not found in them.	list_item via surya_layout
35	रिमयो: समयोर्युक्तगमका सकलस्वरा ।	list_item via surya_layout
36	(i)	list_item via surya_layout
37	Kalā (appendix) on SR II, p. 132.	main via surya_layout
38	पड्जधैवतसंवादा गान्धारपंभसङ्गता ।	main via surya_layout
39	(ii)	annotation_inline parent ligne 38 via heuristic_short
40	S. Rāj II. 2.1.657 cf.	main via surya_layout
41	निषादांशग्रहा पद्जन्यासाल्पर्पभनिस्वना ।	main via surya_layout
42	113. cf.	annotation_inline parent ligne 41 via heuristic_short
43	बहमध्यमगान्यारा सौवीरकसमुद्भवा ॥	main via surya_layout
44	भाषा गान्धारिका नाम पूर्णा स्यात् करुणे रसे ॥	main via surya_layout
45	Ibid. 659.	annotation_inline parent ligne 44 via heuristic_short
46	114. Rṣabha is totally absent in this illustration and hence the same	main via surya_layout

vol_I_p043 RIGHT — 30 lignes

L#	Texte OCR	Role auto
1	69	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	mūrchanā and tāna has been expounded in the recaptulatory verse (samgraha-	main via surya_layout
4	śloka).37 How is that (the difference)? The group of svaras that is arranged in	main via surya_layout
5	the ascending and descending order is spoken of as murchana, whereas tana is	main via surya_layout
6	with the ascending order, this is the distinction.58	main via surya_layout
7	[The Yajña-names of Tānas]	section_header via surya_layout
8	Now the yajña-names 59 of tanas are being spoken of—	main via surya_layout
9	Agnistoma, atyagnistoma, vājapeya, then sodasī, puņdarīka, ašvamedha and	main via surya_layout
10	(104)	annotation_inline parent ligne 9 via heuristic_short
11	rājasūya is the seventh one.	main via surya_layout
12	Thus are the names of sadava tanas devoid of sadja.	main via surya_layout
13	Svişţakrt, bahusauvarņa, gosava, mahāvrata, viśvajit, brahmayajña as well as	main via surya_layout
14	(105)	annotation_inline parent ligne 13 via heuristic_height
15	ртājāpatya.	annotation_inline parent ligne 13 via heuristic_height
16	Thus end the names of şāḍava tānas devoid of ṛṣabha.	main via surya_layout
17	Aśvakrānta, rathakrānta as well as viṣṇukrānta, sūryakrānta, gajakrānta, balibhit	main via surya_layout
18	(106)	annotation_inline parent ligne 17 via heuristic_height
19	(and) nāgayajāa.	annotation_inline parent ligne 17 via heuristic_height
20	Thus end the names of şādava tānas devoid of pañcama.	main via surya_layout
21	Cāturmāsya and then the one named samsthā, śastra and ukthaka, sautrāmaņi,	main via surya_layout
22	<math display="block">(107)</math>	annotation_inline parent ligne 21 via heuristic_height
23	citra and the seventh one is udbhidyaga.	main via surya_layout
24	Thus end the names of şādava tānas devoid of niṣāda.	main via surya_layout
25	١	page_number via heuristic_pagenum
26	Thus end the names of twenty-eight şādava tānas in şadjagrāma.	main via surya_layout
27	Sāvitrī, ardhasāvitrī and sarvatobhadra, [ the ayana (place, path, movement)	editorial_bracket parent ligne 26 via heuristic_brackets
28	of adityas, the ayana of cows ] the ayana of snakes is the sixth one and the ayana	editorial_bracket parent ligne 26 via heuristic_brackets
29	(108)	main via surya_layout
30	of kaunapas (demons) is the seventh one.	main via surya_layout

178 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p107 RIGHT — 29 lignes

vol_II_p050 RIGHT — 34 lignes

vol_I_p063 LEFT — 39 lignes

vol_II_p146 RIGHT — 46 lignes

vol_I_p043 RIGHT — 30 lignes